Rick Beauregard wrote:Have you suggested this revision to the score?
No as it's already in the score, and I only noticed it the 2nd time studying D05. The barre notation is so close to the bar line, that it's difficult to notice it is actually positioned over the last triplet of m.24. Stewart seemed to miss this as well
Stewart Doyle wrote:It looks as though this will be a really active and supportive group this year. I hope I can do it justice. Here are my first recordings. I was only planning to do the two exercises, but I had one attempt at the Anon/Sor and decided to keep it just to highlight the obvious sections (bars 19 and 31 the main culprits) that need a lot more work! Missed the slide the first time round too...
Stewart, I think your nails were a bit rough especially in damping and velocity exercises recordings. It's as if they were catching a bit on the treble strings, but in Melodia de Sor I couldn't hear any problem, possibly because of different wrist angle?
My feelings for the velocity exercise are a bit mixed. While I recognize its value in increasing speed, I think we all struggle a bit with keeping steady tempo and keeping all those exotic quintuplets and septuplets at correct duration. It might be beneficial to repeat each measure to give oneself time to adjust to the changing speed.
Your damping exercise was well done! If you still plan on practicing it, I would suggest to try to minimise the pause between damp and play. In the exercise text it says "[...]you will work on getting a smooth join between notes, that is to say that you will end one or more notes at the exact moment that you start the following note (or notes).
I'm not sure how you're practicing Melodia de Sor, but I think you need practice in two separate areas, right hand speed and chord transitions, and it probably would make sense to practice those two aspects independently of each other. The piece really should be performed faster, even if it means that not all the transitions are super smooth. Also, with all the barres, playing the piece slowly can be very straining for the left hand, which means very few repetitions for a practice session. Just concentrate on making those transitions fast and practice paim
arpeggio speed on open strings while letting the left hand rest.